Publishing | Despite the debut of DC Comics’ Flashpoint and the release of the second issue of Marvel’s Fear Itself — big summer events for both publishers — no comic sold more than 100,000 copies in the direct market in May. Fear Itself #2 led Diamond Comic Distributors’ list of Top 300 comics with an estimated 96,318 copies, a decline of some 32,000 copies from its first issue. But it’s the debut of Flashpoint in the No. 2 slot, with an estimated 86,981 copies, that ICv2 says “has to be considered disappointing.” However, the retail news and analysis website is quick to point out that several stores have indicated they sold out of their initial orders of the book, suggesting it may have been under-ordered by event-wary retailers. ICv2 also notes a 17.3 percent drop in the Top 300 comics before explaining the situation isn’t as grim as that figure may suggest. However, it cautions, the same can’t be said for the graphic novel category, which was down just 6.2 percent from May 2010 — a month in which no title sold more than 5,000 copies. John Jackson Miller has further analysis. [ICv2.com]
Creators | In a piece titled “Happy Father’s Day; Glad You’re Not Here,” Neal Kirby pays tribute to his father, the late Jack Kirby, in the process exposing some of the bitterness over the way the comics legend has been credited in recent movie adaptations: “If [you're] unfamiliar with the comics industry, and just enjoy super-hero movies, you will notice my fathers’ name on some screen credits, usually buried at the end of the movie; sometimes, as in the recent Thor release, coming third after someone who had no hand in the characters’ creation other than being the editor-in-chief’s brother. Unfortunately, for the past several years, some in the comics industry who have had the benefit of longevity have used the opportunity to claim to be the sole creator of all of Marvels’ characters. Must be great to be the last man standing. It would seem that being backed by the public relations department of a large corporation buys access into the 24/7 news cycle.” [CO2 Comics Blog]
Letters of Note, a blog that posts letters related to history and pop culture, shares a letter from John Byrne to Chris Claremont on the creation of Kitty Pryde. In the letter, which is now owned by Jonathan Mueller, Byrne provides not only an illustration but powers, potential codenames (including Sprite and Ariel, both of which were eventually used, and Kittyhawk, which wasn’t) and the suggestion that she be on a second team of “X-Men in training.”
A Wolverine movie sequel based on the 1982 miniseries by Chris Claremont and Frank Miller reportedly will begin production in January.
The Hollywood Reporter‘s Roger Friedman confirms earlier reports that the follow-up to 2009′s X-Men Origins: Wolverine will be a tale of martial arts and romance set in Japan.
The script is by Christopher McQuarrie (The Usual Suspects, Valkyrie). No director has been signed.
Claremont and Miller’s four-issue series — Wolverine’s first solo comic — is a story of love, honor and revenge, with Logan battling ninjas and the politics of the criminal underworld for the heart of his ex-lover, the daughter of a Japanese crime lord. Just to make life more complicated, as assassin hired to kill Logan ends up falling for him. Star Hugh Jackman has called the miniseries his favorite Wolverine story.
The $150-million X-Men Origins: Wolverine, from 20th Century Fox, grossed $373 million worldwide.
I am fond of saying that the strength of DC’s superhero line comes from its diversity. Ideally, the line would maintain a good mix of traditional and progressive characters, styles, and storytelling approaches. It would be a place where each such approach could carve out its own spot and set its own “local rules”: things are a lot less grim around the Marvel Family, for instance. Perhaps the best example of this heterogeneity was Jack Kirby’s Fourth World. I’m not talking about the fully-assimilated New Gods of today, or even the Grant Morrison-ized New Gods of Seven Soldiers and Final Crisis. No, the pure Kirby of the early ’70s (and maybe even The Hunger Dogs) was its own animal, different enough that DC’s high sheriffs ordered Superman’s and Jimmy Olsen’s heads redrawn just so the squares wouldn’t totally freak out.
Now, most of the time these work out pretty well, both in terms of artistic merit and lasting contributions to DC’s stable.
And then there was Sovereign Seven….